The Champion Table Build, Part 1: Compose, Scribe and Fit

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the beauty of God’s edge
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composing pieces
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flattening black walnut with a router and jig
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more looking, more composing
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smoothing and shaping edges
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smoothing and joining white oak
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assembling white oak panels
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white oak and black walnut adjusted and clamped for scribing
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knife scribing every curve
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the white oak panel marked and ready to cut
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rough cutting on the bandsaw, staying about 1/16th to 1/8th away from the scribed line
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cutting the line deeper
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paring away the waste to establish a shoulder along the scribe-line
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making the shoulders broad and deep
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chopping and paring right up to the line
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the shoulder becomes a jig to cut the rest of the piece right to the line using a pattern bit and router
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after cutting a slot for a floating tenon, dry-fitting pieces
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the floating tenons cut and laid out
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tenons glued in
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glued and clamped
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joining and smoothing the new edges
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on to the next step…

5 thoughts on “The Champion Table Build, Part 1: Compose, Scribe and Fit

  1. Very interesting project. How does this intriguing design account for the differing seasonal expansion and contraction characteristics of walnut and white oak along curving joint lines? Just curious. Thanks for showing your technique in detail. It opens up a realm possibilities. I’m always glad when your blog shows up in my inbox.

    1. Thank you, Don. I always enjoy hearing from you. As to your question, I made sure to orient parallel all the grain of the top. The walnut curves are sections of a longer piece, and the oak, as it fills the “negative space”, is running in the same direction as the walnut it encounters. So expansion and contraction should be relatively even across the curve. The only place where there is a joint of perpendicular grain is the breadboard ends (which haven’t appeared yet in this post), and they are attached via tongue and groove and draw-bored mortise and tenons, sans-glue. I hope that explanation is coherent, Don. Let me know if I could explain any point more.

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